Fox in the Penalty Area

After the sixth volume is finished, as usual, use WORD to count the number of words.

1540747 words.

1.54 million words, more than the number of words in a whole book of some novels...

This is the volume with the most words, because it contains a lot of content.

At the same time, because Hu Lai has changed the map, everything is new and needs to be presented in front of readers in words, so it takes a lot of pen and ink.

After all, this is not the kind of novel about the real football world. Many things do not need to be introduced, and everyone naturally understands.

Whether it is the King of Madrid, the Catalan United, or the Pirates of Madrid, although there have been sporadic appearances before, I have not carefully shaped them.

Because it wasn't necessary at the time.

Writing a novel still has to distinguish the priority from the secondary, it is impossible to cover everything, then it really becomes a running account.

Everyone can understand it as watching a stage play. Under the spotlight lantern is the place where you want the audience to pay attention. All the stories take place in this place.

And the other characters are hidden in the darkness outside the lights.

The audience doesn't know what they're doing, and they won't care.

When they need to appear, the lights will naturally turn on above their heads, illuminating the stage where they are.

In the past, Hu Lai was only in England, and most of the characters around him were in England. Later, he participated in the Champions League and Europa League, which led to some other teams in Europe.

Because Catalan United had a direct confrontation with Leeds City, they had more scenes.

This is evident from the fact that I listed the names and brief introductions of the main players of the Catalan United in the role list in the fifth volume.

And both the King of Madrid and the Pirates of Madrid are only used as pure background boards, appearing in occasional descriptions in the form of "names".

The King played very early, and Hu Lai played when he was still playing in China, but I only focused on Xavi Sanchez, and did not write more characters.

Because there is no need to waste ink and ink on those characters who will not have any effect on the plot for the time being.

Merry was also shaped heavily because of the Olympics.

All this changed when Hu Lai moved to the Madrid Pirates.

Whether it is the Madrid Pirates, a giant team that has barely played before, or the King of Madrid who has always appeared in the story as a "dragon suit", I have begun to use more pen and ink to shape them.

Build their squad, coaching staff, club history, heritage, accolades, fan culture...and more.

As Hu Lai encounters various opponents in the Champions League, and there are more and more new characters and teams, it is natural to use more ink to describe them.

So the space is stretched out like this.

I didn't think about whether to simplify or do subtraction.

After all, subtraction is a very advanced practice.

But I thought about it and thought that I still couldn't do the subtraction, because some things just exist in my mind. If I don't write it clearly, readers may find it inexplicable.

This was especially evident when Hu Lai moved to the Pirates of Madrid.

In my plan, outline, and mind, Hu Lai will definitely go to the Madrid Pirates, and it is a transfer result that no one expected. So I tried desperately to describe the king's pursuit of Hu Lai and barely mentioned pirates.

It is because in my consciousness, I want to hide the Madrid Pirates from the spotlight.

When the final official announcement was made, everyone in the book was unexpected, and then realized that the King of Madrid was the escort...

But just because of the subtraction, this transfer plot feels a little abrupt to the reader, and the foreshadowing is not enough.

From the perspective of the world in the book, there is nothing wrong with Hu Lai's transfer to the Madrid Pirates, but because I did not completely write out everything in my mind, some readers questioned the rationality and necessity of this transfer. .

The same problem appeared in the Champions League semi-final this season.

Originally, in my plan, after writing the Champions League quarter-final between Hu Lai and Rocca, the story jumped directly to the Champions League semi-final part.

The league part has been covered in one go, and the content of the Champions League semi-finals is directly entered, and the opening game is already in the game.

I often do this in this book, in order to avoid writing the novel into a running account, and always want to use the language of the film lens to write the novel.

There are times when it is successful and reasonable to do so.

But sometimes it shouldn't.

For example, the Champions League semi-finals.

I wrote the semi-finals in this way, starting directly from the game, the text is that the Madrid Pirates and Blue and White Munich have already faced each other in the game, and then write the game, Madrid Pirates scored, Blue and White Munich scored again, and finally Madrid Pirates beat Blue and White Munich 3:2 at home.

And then, directly skipping the weekend league, starting with the second round of the semi-final, and it was already the last ten minutes of the game, and Becker had scored a goal.

This is my original plan.

The difference between the second half and what everyone sees now is not very big, but the difference in the front is obvious.

I wrote the first round with this idea in mind, and it was very painful.

It's so painful that I don't know how to write about the competition. No matter how I write it, it feels like a waste of time, and at the same time it's like a running account.

Such a game is meaningless.

But that shouldn't be the case, because this is the Champions League semi-final, and it's a story about an important Champions League record.

As a result, I wrote without passion.

At first, I wanted to be lazy, so I thought about forcibly writing it down. Maybe it would work if I just wrote it down?

Or, in fact, readers are not so demanding. As long as I write that the protagonist scores a goal, they will be very happy...

I consoled myself like this, or deceived myself, and then continued to bury my head and forcefully write.

Until one day I finished writing two chapters in great pain, it was already one in the middle of the night, I was going to take a bath and then go to bed.

As a result, when I was taking a shower, I pondered this question that had been bothering me for several days - I have the habit of reviewing the content I wrote recently when I was in the shower - I felt that this was wrong.

If something like this is written forcibly, if even I think there is a problem, it will be 100% impossible for the reader to make a difference.

Then I made up my mind - to overthrow and rewrite all the six chapters I wrote in the previous three days.

After I made up my mind, I felt that the burden that had been pressing on my heart for the past few days suddenly loosened, my whole body became more relaxed, and my goal became clear.

Then I sent a single chapter at two o'clock in the middle of the night to tell everyone to ask for leave, because the manuscripts were almost completely useless.

After taking the leave, I will consider how to write it.

I started to look through the previous parts of this book, and gradually I found the thoughts and ideas that I had when I first wanted to write this book.

I found that I fell into the misunderstanding of wanting to "speed up the rhythm and squeeze water" unknowingly.

In terms of my writing style, not only can I not squeeze out the water, but I have to pour water into the novel.

Because I am the kind of author who first generates pictures in my mind, and then converts these pictures into words and writes them out.

This means that a lot of detail is required.

It's too dry, and all the pictures are just the initial sketches, with no outlines and no coloring - just like Yoshihiro Tomi's hunter later stage.

Maybe some readers can know what I have written by relying on their powerful brain comprehension ability, but I am always worried that the readers are different from what I think, so I will take the trouble to describe the picture in my mind clearly.

And this way of writing requires me to calm down and be neither impatient nor impatient in order to find the state.

I write 6,000 words a day, which takes more than ten hours, most of which may be spent on how to build the picture.

If a picture is generated in my mind, I actually write very quickly. But if there is no picture, then I may be stuck for a day.

The previous semi-finals lacked the game screen, but I had to forcefully write the game, which made it very painful to write.

After finding the crux of the problem, I realized that I can't pursue fast and dry, but slow and water.

Let's not talk about the readers' feelings, at least I can find the creative state by myself, otherwise what I write is just a "fine outline" that is a little more detailed than the outline...

So I started to redesign the plot before and after the Champions League semi-finals, adding the role of Becker, who is competing with Hu Lai for the record, such as why he is competing with Hu Lai for this record - I didn't explain much before, it seems that he Should be the same as the Hu Lai competition.

But in fact, as a person with his own mind, he should have a motive for everything he does.

So I added his motivation to want to compete for the Ballon d'Or.

Then I also introduced Albertazzi and Caesar through the Champions League record to further improve the images of these two characters.

And Hu Lai's record of 60 goals - I didn't plan to spend so much time writing this record at first, I just wanted to mention that he set a new record.

I have no idea how the world should react after the record is set.

This is not right.

So when I was rewriting it, I thought seriously about what follow-up response his record should bring - not just simple fanfare, but also something that has a long-term impact.

So I brought out the Hu Lai Museum, and then continued to strengthen this thread through the influence of the semi-finals.

The Hu Lai Museum is my personal fantasy of what kind of changes Chinese football should have in this alternate world.

So there will be a story about the museum in the future...

In the end, when I took all aspects into consideration and wrote it out, the result presented is what everyone sees.

During that time, whether it was Zhang Shuo, Duan Commentary, or follow-up bookings, they were all highly booked, or monthly passes and rewards were very active.

What does this mean?

It means that it is correct for me to slow down and "inject water" into the plot.

It shows that everyone really likes watching these "water".

In fact, the reason why this book has such vitality after reaching 5.8 million words is also related to my tireless watering and irrigation.

There are not so many details, and there are so many characters who seem to really live in this world. How can Hu Lai alone support such a big world?

Many things are not what I can think of when I open the book. In fact, I also think about it while writing. Many plots and characters are only after I gradually integrate into this world and gradually build up this world. , clear up.

It's just that serialization is a long and very torturous job. No one can guarantee that they will be full of energy and in good shape every day during the serialization period. There will always be times when they slack off and get stuck.

So sometimes I want to be lazy...

Fortunately, when I want to be lazy, I will go through what I have written before, and then see such a lively world, and think - I can't let this world fall into my hands in the end, here's Everyone is alive and alive, and they should continue to live in that world, even if the book is over.

I also thank everyone for your tolerance and support for me, allowing me not only to not break out, but also to occasionally update alone.

But for the quality of the novel, I believe all this is worth it.

When the book is truly finished, what everyone will see will not be an online YY novel, but a real, credible and desirable world.

In the process of writing "Fox of the Forbidden Area", as long as a character has a name, even if there is no line, I will add it to my character list.

Published at the end of each volume.

So far, there have been 925 named characters in this book.

These nine hundred and twenty-five people have names, ages, and their past and future.

There are also countless anonymous characters who appear in the book and become part of the world.

The same goes for the beginning of the new volume.

In the new volume, I tried to focus on people other than the protagonist, not so fast to advance the plot, but to create more characters and describe the lives of ordinary people. Then through the shaping of these characters one by one, a real and believable world is created.

For this reason, sometimes the protagonists of several chapters may not appear, and maybe not everyone likes watching such a rhythm narrative.

But I will still stick to this way of writing. Because from the point of view of the whole book, it is the right thing to do.

Besides, my ambition in this book cannot be carried by the protagonist alone.

Some of my thoughts on Chinese football, and my thoughts on life, still have to be reflected by more different characters.

At this time, the more than 900 characters I created before have played an important role.

Without these characters, the next plot of "Fox of the Forbidden Area" would be very boring, and I would have no passion and motivation to write it.

Why is "Bright Green" so short? Because I wrote later on, except for the love story of Gao Zheng and Sister Feng, most of them didn't want to write it anymore, and the competition didn't start, and forced to write that was the real water, pure water.

So more than two million words are finished.

Generally speaking, when a novel is first opened, it is written smoothly because there is passion. In the later stages of writing, it became more and more exhausted, and the author and readers were both aesthetically fatigued, and eventually the book gradually died.

But "Fox of the Forbidden Area" is the other way around. When I opened the book, although I was very passionate, it was actually very painful to write. I really thought about every word. Every story and every new character, I have to think about it. consider.

There is quite a feeling of being in an abyss and walking on thin ice.

For fear of not writing it well, the whole world will deviate from here in a direction of collapse.

That's because I'm creating a world out of nothing, and I'm not quite sure what the world should look like in my own mind - I only have a skeleton, not flesh and blood.

If you only look at the skeleton frame, who knows how different people are?

But now, with the writing of nearly 6 million words of the previous article, I have become more and more handy at writing, and I have less and less chance of breaking my head at the beginning of the book.

This is also because the world is getting richer and richer, and they can operate automatically according to the rules.

There are fewer and fewer places where I, the author, need to forcibly intervene.

In the past, when I wrote books, until the end, the more stories I wrote, the fewer stories I had to write.

Now I'm writing "The Fox in the Forbidden Zone", and to the end, the more stories I write, the more I write.

It's amazing to say, the last time I had this creative impulse to shape the world, and the more I wrote, the more stories I wanted to write, it had to be... 16 years ago ~www.readwn.com~ to write "We Are Champions" At that time.

At the end of "We Are Champions", I felt as if I was not writing a novel, but the characters in the novel interacted by themselves, and I just recorded their interactions.

In the end, when the familiar characters in the book exited one by one, they just walked out of the spotlight on the stage and walked into the darkness of the stage.

They just finished their drama, but their lives and lives are still going on.

And there are still two volumes left in "Fox of the Forbidden Area", so the characters in the book haven't even finished.

Halfway through 2022, I estimate...or, I hope, this book can be written until March next year-because then, it will be the 20th anniversary of my entry into the industry. No matter in which line, twenty years is a very memorable event. So I hope to use such a book to mark my 20 years of web writing career.

Of course, it doesn't matter if it doesn't work, I won't force it to be stuck.

If the story ends sooner than March next year when I plan it, then it will be good and my 20-year career will not be bad because of it.

So again, I will take it seriously, finish Hu Lai's story at my own pace, and end it when it's time for the end, and everything will take its course.

I will try to keep the whole book on the same level and not fall off a cliff in the final pages.

So far, this book has outperformed all my previous books—during the serialization period.

I hope that when the book is finished, the reputation of this book will surpass all the previous books.

Thank you again for your support and understanding, thank you!